Yan Jun / Acoustic Dance
Friday, February 24 / 19:00 – 21:00 *multiple performances staged for an intimate group
Some simple, slow and amateur body movements I call dance. Intended to diffuse little sounds from steps, cloth, joints, skin and somehow the environment (and audiences themselves) to and through and among the audiences. Maybe also an excuse of enjoying some weird and nonsense behaviour. It’s developed from improvised music performance which I realize the performers are neither expressing anything through bodies nor playing with still bodies. There are always something come after the meaning and the intention. There is no such thing as pure acousmatics, as long as there is body which constantly transforming energy and language between its inside, outside and interface.
yan jun, musician and poet. born in lanzhou in 1973. based in beijing. currently lives in berlin for artist residency (daad). he is working on improvised music, experimental music, field recording, organizing and writing. alongside of at venues, he goes to audience’s home to play with the environment and what else available in the room (Living Room Tour project). and doing noise hypnotizing at any place for small amount of audiences. also amplifying body movements or other performative elements in a simple manner. he is member of FEN, Tea Rockers Quintet and Impro Committee. and founder of the guerrilla label Sub Jam.
r.d.l. – automatic creation
As part of Transmediale/Vorspiel please join me for 3 hours 44 minutes (19 – 22.44)
A 3 hours and 44 minutes long installation-performance with sounds made in a process of ‘automatic creation’, daily sketch-like work with sound processes and sound transformation, following up and re-working micro-results by manipulating software in extreme parameters. Interspersed are sound objects, also processed live. The piece is projected through small speakers with different acoustic characteristics spread throughout the performance space. What originates from the artists mind, what from the depth of the digital software, what from the physicality of the speaker?
One could think that conceptualism – both as a movement and artistic tendency – had never existed in contemporary music. There is no mention of this phenomenon in the vast literature on the history of the 20th and 21th century musical practices. Although conceptualism is primarily associated with the visual arts, let us not forget that its origins lie in music, e.g. in the musical experiments of John Cage and New School For Social Research, or Henry Flynt, who coined the term concept art.
In the current Glissando #29 issue we take a look at conceptualism understood as artistic experiments, which are no more limited to the creation of new forms or “material progress”. We focus on the practices subverting the conventional model of musical work or artwork in general and thus going beyond the traditional domain of aesthetics. The purpose of these practices is to redefine ontological, epistemological, and ethical problems.
Our Berlin presentation of the issue, co-organised with Errant Sound collective will include lectures, panel discussion, the exhibition posters created by Kama Sokolnicka, presentation of the label AltanovaPress as well as a concert by Lucio Capece, Heather Frasch, Joseph Kudirka and Koen Nutters.
1) Introduction to the #29 issue of Glissando – „Conceptualism” (Paweł Szroniak)
2) Lecture: „Impossible music” and Polish conceptual art of the 60’s and 70’s (Antoni Michnik)
3) Label presentation of Altanova Press (Paweł Szroniak, Zorka Wollny)
4) Panel Discussion: Musical Conceptualisms (Sebastian Berweck, Heather Frasch, Joseph Kudirka, Hanne Lippard – moderation: Monika Żyła, Paweł Szroniak)
5) Preview of the issues #30 & #31 (Daniel Brożek, Antoni Michnik)
6) Concert: Lucio Capece, Heather Frasch, Joseph Kudirka, Koen Nutters (pieces by Ryoko Akama, Allison Knowles, Mark So).
Date: 04.02.2017 (Saturday)
Place: Errant Sound